denny Architectural Art & Design

In an interview by Dr Victoria Watson, Dr Penelope Haralambidou discusses the devices that structure our experience of Marcel Duchamp's enigmatic assemblage Étant Donnés. DESCRIPTION Desire has no objects, but merely architectures -- organisational devices that structure our experience -- intended to lure into the momentary satisfaction of an idea. If not actually here on show (The Surreal House, Barbican Art Centre), one piece that is vital to the conception of The Surreal House is Duchamp's Étant Donnés: its subject is a fractured body, certainly female and denuded, possibly mutilated. As Jane Alison points out in her introductory text, Étant Donnés is an investigation of the relationship between architecture and desire: "We can say with some certainty... that eroticism and architecture were the mainstays of Duchamp's decidedly non-retinal practice..." Watson and Haralambidou will argue that in order to understand the part played by the fragmented body in the architecture of Étant Donnés it is necessary to define the critical and indeed political nature of Duchamp's non-retinal practice. For Duchamp retinal practice referred to habitual architectures, originating in the Italian Renaissance, which had developed around and out of acts of building, viewing and painting. In constructing Étant Donnés Duchamp aimed to short-circuit these habitual architectures, which still to this day are assumed of visitors to galleries and museums, and to install the act of looking in the ...

In an interview by Dr Victoria Watson, Dr Penelope Haralambidou discusses the devices that structure our experience of Marcel Duchamp's enigmatic assemblage Étant Donnés. DESCRIPTION Desire has no objects, but merely architectures -- organisational devices that structure our experience -- intended to lure into the momentary satisfaction of an idea. If not actually here on show (The Surreal House, Barbican Art Centre), one piece that is vital to the conception of The Surreal House is Duchamp's Étant Donnés: its subject is a fractured body, certainly female and denuded, possibly mutilated. As Jane Alison points out in her introductory text, Étant Donnés is an investigation of the relationship between architecture and desire: "We can say with some certainty... that eroticism and architecture were the mainstays of Duchamp's decidedly non-retinal practice..." Watson and Haralambidou will argue that in order to understand the part played by the fragmented body in the architecture of Étant Donnés it is necessary to define the critical and indeed political nature of Duchamp's non-retinal practice. For Duchamp retinal practice referred to habitual architectures, originating in the Italian Renaissance, which had developed around and out of acts of building, viewing and painting. In constructing Étant Donnés Duchamp aimed to short-circuit these habitual architectures, which still to this day are assumed of visitors to galleries and museums, and to install the act of looking in the ...

In an interview by Dr Victoria Watson, Dr Penelope Haralambidou discusses the devices that structure our experience of Marcel Duchamp's enigmatic assemblage Étant Donnés. DESCRIPTION Desire has no objects, but merely architectures -- organisational devices that structure our experience -- intended to lure into the momentary satisfaction of an idea. If not actually here on show (The Surreal House, Barbican Art Centre), one piece that is vital to the conception of The Surreal House is Duchamp's Étant Donnés: its subject is a fractured body, certainly female and denuded, possibly mutilated. As Jane Alison points out in her introductory text, Étant Donnés is an investigation of the relationship between architecture and desire: "We can say with some certainty... that eroticism and architecture were the mainstays of Duchamp's decidedly non-retinal practice..." Watson and Haralambidou will argue that in order to understand the part played by the fragmented body in the architecture of Étant Donnés it is necessary to define the critical and indeed political nature of Duchamp's non-retinal practice. For Duchamp retinal practice referred to habitual architectures, originating in the Italian Renaissance, which had developed around and out of acts of building, viewing and painting. In constructing Étant Donnés Duchamp aimed to short-circuit these habitual architectures, which still to this day are assumed of visitors to galleries and museums, and to install the act of looking in the ...

"Looking Back" documents the opening reception of "91 92 93", an exhibition that revisits and reworks aesthetic paradigms created by key projects from the early 1990s. Held at the MAK Center in Los Angeles, Andrea Fraser, Lincoln Tobier, and Simon Leung present new installations and performances based on seminal earlier pieces. Not only do the new works reflect contemporary critical positions, they also incorporate recent history and the modernist context created by the landmark Schindler House. The exhibition gives the artists and their audiences the opportunity to re-evaluate artistic methodologies and theories first posited two decades ago. Similar to the way in which all three artists revisit particular works that they produced in the past such that the current works expand and recontextualize upon original concepts, this last episode of the "Emerge Through Art" video-web series draws upon ideas of looking back and learning from past experiences as a way to actively incorporate and involve one's self and one's art in contemporary issues and debates. Andrea Fraser is a New York-based performance artist, mainly known for her work in the area of institutional critique. She is currently a professor in New Genres at the University of California, Los Angeles. Lincoln Tobier was born in 1964 in New York, and currently works out of Los Angeles. His projects embrace a variety of media including sculpture and painting, as well as, video and radio. He has exhibited both ...